Jennifer Lawrence

Despite not having any professional training, Jennifer Lawrence became one of Hollywood's most sought after and respected young actresses within five years of beginning her career. After a fairly typi...
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'Half Man' Angus T. Jones Blasts 'Two and a Half Men,' Pleads You to 'Stop Watching'

Two and a Half Men just can’t get cut a break.
Angus T. Jones, the 19-year-old actor who plays Jake Harper, the “Half Man” on the CBS comedy juggernaut, has come out swinging at the show that made him a star. A recent “born again” Christian, Jones gave an extensive video testimonial to the faith-focused website Forerunner Chronicles, in which he calls Two and a Half Men “filth” and urges viewers to “please stop watching it.”
Though by any standard a megahit, Two and Half Men has often been criticized for the crude, highly sexual nature of its humor, and Jones, for one, seems to have had enough. “Jake from Two and a Half Men means nothing,” Jones says in the Forerunner Chronicles video. “He is a non-existent character. If you watch Two and a Half Men, please stop watching Two and a Half Men. I’m on Two and a Half Men, and I don’t want to be on it.” He later adds, “People see us and think, 'Oh, I can be a Christian and be on a show like Two and a Half Men.' You can’t. You can’t be a true God-fearing person and be on a show like that. I’m not okay with what I’m learning, with what the Bible says, and being on that television show.
Now in its tenth and possibly last season, Two and a Half Men remains a ratings powerhouse (it still averages over 12 million viewers per episode) despite several years of behind-the-scenes controversy that included the infamously heated departure of original series star Charlie Sheen in March 2011, following tiger blood-fueled comments he made disparaging series creator Chuck Lorre that turned the catchphrase “Winning!” into an ironic meme. Sheen played the on-screen brother of Jon Cryer’s Dr. Alan Harper and uncle to Jones’ Jake Harper. Ashton Kutcher was hired to replace Sheen for the start of the Fall 2011 TV season. Jones’ critical remarks will surely add fuel to the rumors that this will be the series’ final season.
Check out Jones’ video below:
CBS has not yet responded to Hollywood.com's request for comment.
Think the actor has a point? Or has he lost his sense of humor?
Follow Christian Blauvelt on Twitter @Ctblauvelt
[Photo Credit: Richard Cartwright/CBS]
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It's official: everyone watched Liz &amp; Dick last night. The name of Lifetime's fifth grade book report about the life and times of Elizabeth Taylor and Richard Burton was trending on Twitter last night when the movie aired and catty chatter about it was as inescapable as the White Diamonds perfume ads in the '80s. It was probably because everyone was waiting to see just how awful Lindsay Lohan as the violet-eyed legend would be. While we wait for the official ratings to come (and they're probably going to be as big as one of Liz's caftans) let's talk about some of the movie's worst moments.
Yes, they were all pretty bad, but I have to say a highlight for me was when Lindsay, as Liz, screams from her chaise lounge in the backyard of her compound in Gstaad, "I'm bored. I'm so bored," with a flatness that can be only likened to cardboard that has been run over by a steamroller. Oh, no, wait. The worst was when Richard (played gamely by Grant Bowler) gets all mad at Liz on the set of Cleopatra and then she goes in her dressing room and cries and Richard walks up behind her and says, "Don't hate me," and she replies, "I don't hate you. I loathe you." Um, Lindz, aren't those the same thing?
There are so many silly moments to enumerate: Liz flashing the paparazzi her ass, her opining "I want more. I want more!," or the "Cleo-Fat-Ra" headlines when Liz's waistline doesn't change once in the whole movie. Oh, what about when the couple gets in a huge fight and Lindsay tries to make up by going into her partner's bedroom and mewing, "Elizabeth wants to play." That was pretty awful. OH! Or what about the scene where the purser from the hotel comes in to ask if they need one room or two and their banter involves a pun which likens Burton's performance of Hamlet to his penis. And then when we see his Hamlet (not his penis, him actually playing the part) it is as dull as a rusty knife. OH, and then there is a curtain call and there are no women on the stage, even though there are female characters in the play, and Dick makes Liz come up on stage and I crawled into myself so far that I actually inverted like a human Popple.
Those are some of my favorite bad moments of the movie. What about yours? Let us know. Misery loves company, and I think we're in good company thinking this was absolutely miserable.
Follow Brian Moylan on Twitter @BrianJMoylan
[Photo Credit: Lifetime]
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For every M*A*S*H, there are three That '70s Shows. A general rule to live by, yes, but it takes particular relevance in the wake of Chevy Chase's announcement that he will be departing from NBC's cult phenomenon Community. The news broke last Wednesday that Chase would be departing from his position on the show, effective immediately. Considering how much of the upcoming fourth season has already been filmed, this will only leave viewers with one or two episodes devoid of Chase. However, if the show does get picked up for a fifth turn, we will be seeing Greendale without Pierce Hawthorne. Since the Season 4 finale has already been filmed, Pierce's exit will have to be written into the beginning of the fifth year, unless they just plan on ignoring it.
And so, we're called to revisit the maxim of M*A*S*H vs. That '70s Show. The iconic Korean War black comedy is notable for having lost a handful of its original players along the course of its 11-year run (Trapper, Burns, Radar, Lt. Blake) filling the gaps with aplomb. The 1970s sendup, however, lost the likes of stars Topher Grace and Ashton Kutcher before its final season, tumbling in quality with desperate attempts to keep the show up and kicking. In this respect, That '70s Show has a great deal more peers than M*A*S*H, which can really only call the likes of Cheers its company. Sitcoms rarely fare well following the loss of major characters — look at the pitiful later years of greats like Happy Days and Laverne &amp; Shirley; it's almost never done well. Of course, Community is savvy to the nuts and bolts of the television formula. It might well offer a satirical and analytical take on the ejection of one of its cast members. But following however this plays out, we'll be back into the swing of the group's day-to-day, only without one of the seven severely flawed figures to whose journeys we have adhered since the pilot.
PHOTOS: 19 Most Famous TV Exits Granted, Pierce might be an easy character of which to let go for many. Ever since Pierce's "evil breakout" in the stellar Season 2 episode "Advanced Dungeons &amp; Dragons," Internet message boards have been swarmed with hatred for the insecure, often malicious figure. As time went on, Pierce got worse — his dishonesty, manipulation, and bigotry were amped up systematically, bolstering the hate of many a Community fan. A good portion of the viewing base, however, remained intrigued by Pierce, understanding that his flaws were what made him a captivating and complex character. But even those who stayed true to Pierce were likely to side against Chevy once the behind-the-scenes controversies began: Chase's badmouthing of the show and of creator Dan Harmon (to which Harmon himself retaliated) contributed to the increasing opposition of the actor, and pushed many to believe the show might be better off without him altogether. And now, the anti-Chase camp gets its wish. Chevy will be bidding farewell to Community, and Pierce to Greendale. But the remaining Pierce apologists will feel this is a burn. Yes, Chase might have evoked some problems offscreen, and yes, Pierce might not have been an ideal citizen or friend. But his character was an important component to the entity formed, invariably, by the seven college students who banded together when the world gave them no place else to turn. The show is about the union of these flawed, lost souls — it's about each one of their journeys toward self-betterment. It is about, not to be hokey, the very idea of a community: an organism that can only exist when others unite to form it. When Pierce steps out of the group for whatever assortment of episodes we'll see following Chase's leave, the community will cease to be. Yes, the remaining group members will stay in tact, but the very idea that this unlikely community was untenable — the idea on which the show was founded — would be forever marred. But all that is said and done: Pierce is leaving, and we'll have to deal with that. So, if the show does get a Season 5, its arrival will be predated by this question: how will they write him out? Communityis notoriously dark, but would killing off a major character really fall in its jurisdiction? Could setting Pierce to rest in a dramatic Season 5 premiere be the best way to remove him without malice, allowing all of the other six group members to grieve and embrace their love and appreciation for their tortured friend?
PHOTOS: TV's Most Moving Deaths If the show goes about the removal of Pierce otherwise, it might make for awkward storytelling. The, "Well, he's already gone!" without so much as a proper goodbye (as said above, the Season 4 finale has already been filmed, complete with Chase) could translate quite clumsily. "Well, Pierce just set sail on his yacht for Andorra!", "Well, Pierce's wedding to that Tuvaluan princess sure was great!", "Well, nobody remembers where Pierce is... I hope he finds his way back soon!" Of course, we have faith that Communitywould handle the affair more delicately and intelligently than any of these, but concerns still stand. A Community without Pierce will be incomplete, plain and simple. The very idea of fissures in the group detracts from the greater message of the program: these people are, and are meant to be, together. They're a family, a support group, a community. In the words of a wise young girl, "If one piece busts, the whole thing will get busted." It's only a matter of time before this is realized by fans and producers alike. [Photo Credit: NBC] More: Chevy Chase Dropping Out of Community
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In the aftermath of Owen Slater’s death, one would think the prime focus for Boardwalk Empire might be the emotional reaction of one Margaret Thompson (née Schroeder (née-er Rohan)), Owen’s enamored mistress and the mother of his unborn child. But Margaret is nowhere to be seen in this episode — she has been rustled off to safety, along with her children, while Nucky holes up in his office with a troupe of armed bodyguards and, as always, Eddie Kessler, who earns his dramatic keep in this week’s episodes after two and a half seasons as babbling whipping boy. Eddie vows to Nucky that he will not leave his side, assuring his boss that the team of men assigned with their protection are nothing but hired goons. Eddie believes that he is the only man whom Nucky can really trust, and asserts his unwavering position beside him — a noble loyalty reserved for very few figures in the Boardwalk universe. Knowing full well what his employer does for a living, how he conducts business, the corners he cuts and the victims he has tolled (not to mention how badly he himself is treated by the man), Eddie somehow grants Nucky a love and worship you won’t find elsewhere on the Atlantic City boardwalk. As Eddie affirms at the beginning of the episode, Nucky is his life. And his adherence to this life in particular might be what costs him any at all: while standing tall in the defense of his boss, Eddie is shot in the side and begins losing blood rather quickly.
Of course, Nucky doesn’t discover the wound until the two of them have managed their escape of Nucky’s office — overrun with Gyp Rosetti’s men who have taken out all of Nucky’s — and nabbed a nearby car from a terrified passerby. The opening sequence, which follows Nucky and Eddie as they hide out in the former’s suite, dodging bullets and doling out a few of their own, sneaking out through a desolate alleyway and talking a townsperson into lending them his vehicle, is uniquely exciting for Boardwalk of late. And this isn’t because people’s lives are rarely in danger on this show, but because of how intimate this scene in particular feels. The pairing of Nucky with his long-suffering secretary Eddie as the two hapless heroes hit the road for safety has a fun, sort of darkly comic feel — reminiscent in a way of Bobe Hope and Bing Crosby’s Road to movies of the 1940s and ‘50s, mixed with the morbid taste of a first-person shooter like Medal of Honor or Halo or SOCOM or whatever it was that my college housemates were always playing when I wanted to use the TV for Mario RPG.
Quickly, Nucky learns of Eddie’s affliction… the first symptom being the latter falling nearly unconscious while steering the getaway car off the road. Nucky apprehends driving duties and opts to take Eddie to the hospital, but is beaten to the punch when a slew of Rosetti’s men swarm out of the bulrushes as he arrives at the medical building, forcing Nucky to hightail it “across the fence” to Chalky White’s side of town.
Chalky and his army allow hospice for Nucky and a suffering Eddie, even coughing up Chalky’s aspiring son-in-law/med student to tend to Mr. Kessler’s needs as best he can. One of the most heartbreaking moments during the touch-and-go-for-a-while procedure is when Chalky asks Nucky to identify any family that Eddie has, and Nucky sheepishly admits to having no knowledge on the subject. Here Nucky has a man who was willing to die for him and he can’t even identify a single family member of his.
Not only in Eddie but in Chalky does Nucky discover an insuperable loyalty. Chalky and his men turn away Gyp Rosetti’s substantial reward offering for the disclosure of Nucky, instead keeping the former treasurer safe in transporting him out of town… that is, before Nucky has a third-act change of heart, opting instead to stay in Atlantic City and take what’s his. Following a somber conversation with a rambling Eddie, half in English and half in German and all in the thickest sheath of sorrow — Eddie admits to having, or fabricates entirely, a wife and two sons (news to Nucky) while trying to recollect the words to an old rhyme about keeping your spirits high… a perfect testament to this perpetually upbeat victim of circumstance.
Nucky meets up with his brother Eli via the help of Nucky’s nephew/Eli’s son Willy, who arranges a safe house in his place of employ (closed for business for the day). Eli delivers Chicago’s finest to Nucky, who (taking a lesson from the true friends he discovers on this fateful day), rushes to the aid of his innocent nephew when unfamiliar men approach. Al Capone closes out the episode by promising Nucky his allegiance, in the most snarky and snide way conceivable, foreshadowing a good deal of action to follow. Nucky has earned the partnership of Torrio’s team, meaning that Joe Masseri and Gyp Rosetti have their work cut out for them in the remainder of the season.
While Nucky, Eddie, and Chalky are out on their wild adventure through the coast of Jersey, Richard Harrow sets up his own ominous conclusion. After Rosetti’s men take control of Gillian’s brothel (leaving her in a position of esteem), she has two of her new thugs escort Richard off the premises for good — she’ll have no more of his interference with her systematic brainwashing of young Tommy… but Richard will not go quietly into this night. He’s got a whole lot of guns ready to use next week…And finally, Lucky Luciano is arrested when he tries to sell heroin to an undercover cop. Meyer tells him not to. That’s about the size of it for those schmucks.
Next week, the finale: Chicago Vs. the New Yorkers. Richard Vs. Gillian. Lucky Vs. the Judicial System. What fates will befall which characters?
[Photo Credit: HBO]
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Well, the softer side of Merle Dixon theory we sort of maybe entertained over the last few weeks has officially been been debunked. Merle spent the majority of tonight's episode physically torturing Glenn like a violent, redneck Carrie Matheson, while the stoic torturee's poor girlfriend listened in terror from next door. What was his reasoning? Hell, I don't know. I get why he's still mad about being stranded on that rooftop and left to die two seasons ago, but tonight was another brutal reminder of how easily (and disturbingly) humanity can be switched off in the Walking Dead universe.
We saw this a few times: First, there was Mr. Coleman, the old geezer who passed away in Woodbury on Milton's experimental table. I don't know about you, but for a brief second I almost thought that Milton's research would lead to something — that there could be a sliver of hope in this show's horrific, depressing landscape. But no, Andrea was right. Despite Milton's firm belief that humanity could be maintained during the zombie transformation period, Coleman lunged like a man 60 years his junior as soon as he got a sniff of human flesh. Then Andrea stabbed him in the head, because, well, that's what you have to do if you want to survive that in that hellhole. Stab grandpa in the head. Is it worth it?
PHOTOS: TV's Most Moving DeathsFrom Maggie's perspective — if she didn't have that sexy, torture-defying boyfriend — I'd say no. Merle exerting his physical influence on Glenn was nerve-wracking, but ultimately something we've seen a million times before. But when the Governor used his own torture tricks on Maggie — making her strip, then silently threatening rape if she didn't give up the Grimes Gang's location — was horrifying. We already knew that the Gov had adopted some sort of God complex after the zombpocalypse, but this was the first time we saw him actually — apathetically — using his power to completely, soullessly dominate another human being. And God, she was strong. She was so strong.
When Maggie finally gave up, Glenn's death — not her own sexual safety — being her impetus, he "comforted" her in the same way he did Andrea, his "real girlfriend", seconds later. It was vomit-inducing, and a sad reminder of what can happen when a previously governed society is torn apart, then left to pick up the pieces using their own rules. Humanity can be sick. Those who previously lived their lives on the bottom rung — like the Gov, Milton, Merle, and arguably someone like Lost's John Locke, or all of those crazy French people in A Tale of Two Cities — can give in to impulses that were previously unimaginable, and thrive utilizing the absolute most depraved parts of themselves. The Walking Dead largely ignored this dilemma for two whole seasons (unless you count Shane, who comparatively wasn't that bad of a guy), and now we have a much better show because of it. Humans fighting zombies can get boring, but humans having to rebuild a society without rules will never stop being horrifically awesome.
PHOTOS: TV's 17 Most Disgusting Moments What's great is that we're thinking right now — thinking of the lines that have been crossed on this show, and how the f*** we personally would draw them if we were in the same position. We know that it was okay for Michonne to kill the crazy dude in the shack (because his screaming would have given up our heroes), and for Rick to kill the inmates, because they would have hurt his family. Andrea stabbing grandpa was also okay, because he would have killed Milton first. And Merle torturing Glenn for information was bad, even though you could maybe argue that he was also somehow protecting his clan. But the Governor's actions were despicable, because even in a world where you shoot your mom in the head sometimes, sexual violence is never okay.
There — those are my lines. But for other people, they wouldn't be the same. And that's the problem for the Grimes Gang, whenever they happen upon a newcomer — you can never be too cautious, because you don't know what moral code a newcomer subscribes to when they're not forced to abide by commonly accepted rules. They might still value human life and be a Hershel, or they could decapitate you and put your head in an aquarium like a Governor. Obviously this is not what Michonne did when she came across the Grimes Gang, but let's back up, because I'm sort of confused by her actions tonight.
So, while things were pretty terrible tonight over in Woodbury, they were (temporarily) looking up in prison. Carol was back, Axel and Oscar were being grandfathered in, and the baby formerly known as Sophia-Carol-Andrea-Amy-Jackie-Patricia-Lori was given a name — Judith, after Carl's old elementary school teacher. Like, of course Carl was hot for teacher. Also, Rick and Carl finally had "the talk" — no, not about sex with Carl's burgeoning gal pal Beth. The other talk. The one you give your kid after he's forced to shoot his mother in the head after a baby is ripped out of her belly with a knife. My folks waited a while for that one. Everyone was basically happier than they'd been in weeks, until Michonne entered the game to further screw things up.
PHOTOS: 13 Biggest Cop-Outs on TV I was happy to see Carl fight to save her — it looked like Rick was willing to give her up, which is honestly kind of understandable given his track record with strangers. And it proved that maybe Carl isn't always terrible. But then Rick did save her, and while he didn't exactly give her the Four Seasons, he offered her food and shelter and enough good will to make her talk more than she did, which was pretty much not at all. I know the producers of the show want a super dramatic reunion next week when Rick and Daryl happen upon Merle and Andrea, but why wouldn't Michonne tell them that they were there? Wouldn't knowing more about the threat that awaits them help the Gang's chance for survival when they storm the beach at Woodbury next week? I know Michonne isn't a fan of opening up to people, and isn't huge on trust, but I think she's smart enough to know (especially after 8 months of Andrea's stories) that the Grimes Gang aren't the worst folks to align with, and that it would help them to know that Andrea was still alive before they made their move. It's understandable that she'd be hesitant to trust Daryl after spending some quality time with Merle, but her total silence was somewhat baffling. Sorry.
But all in all, it was another fantastic, thought-provoking episode, and it set the stage for a killer midseason finale next week. Can Carl save the prison from the wrath of Woodbury? Will Daryl do the right thing when he reunites with Merle? Will Andrea finally realize that the Governor is a psychopath, or will some much needed sex be enough to pull her to the dark side? Also, doesn't she have a great backside? I must go to the gym. Follow Shaunna on Twitter @HWShaunna [PHOTO CREDIT: AMC] MORE: 'The Walking Dead' Recap: Hounded 'The Walking Dead' Recap: Say the Word 'The Walking Dead' Recap: Killer Within
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To title an episode "Helter Skelter" is to pack a heck of a lot of significance and general creepery into an episode without doing much. There's a lot of loaded meaning in the phrase—hello, Charles Manson!—but perhaps only the stage was set for such a coup. Will serial killers take over? Are secrets really that? What's scarier—love or fear? All these questions (and more!) are presented in tonight's new episode of Dexter.
Fear and love make you do crazy things, Dexter muses, and it's true. So many of our characters' actions tonight were influenced by both fear and love—sometimes even because of a fear OF love. Dexter is afraid he might love Hannah. Deb is afraid of her love for Dexter. Joey Quinn is afraid of what the Koshkas will make him do since they own the woman he loves. And Isaak Sirko? He's fearful of his imminent death, but not so afraid of love (it's arguably the one thing about him that makes sense). But does using the nonsensical nature of love excuse some of the nonsense we saw tonight? Only time will tell, but let's discuss in the meantime.
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Isaak is in hiding from the Koshka Brotherhood, who now want him dead—they're fearful of him and his uncontrollable blood lust for the life of Dexter Morgan. Vengeance is a dirty business when intertwined with human emotions. Oh, how the times have turned! Isaak sets up a plan with a contract killer—but for what? We never find out during this episode, but something tells us that even though Isaak doesn't end up killing Dexter Morgan, he hasn't given up his quest for vengeance all that easy. Isaak needs to stay alive for now, though, so he comes to Dexter's apartment to convince Dex to kill the men out to get him. Isaak is fearful; he will keep Dexter alive in return for killing the two men the Koshkas sent to snuff him out. But when Isaak cannot convince Dexter based on the welfare of his own life to comply, he brings Hannah into the fold: game, on.
When it comes to sibling relations, the Morgans are more f**ked up than the kids from Flowers in the Attic. Deb's clearly been avoiding Dexter; though we're not totally sure for how long. Apparently, Dexter thought Deb might have felt that way for awhile? (Say what?) And he thinks it's OK and makes sense (that she might be in love with him)? It's logical? Dexter. C'mon now. He compares Deb's love of him to his love of M&amp;Ms. (Oh Dexy: you're so overly-logical, it's offensive.) But now, thanks to Hannah McKay and Isaak Sirko, he almost has a slight understanding of human emotions—at least a little bit. "You and I...we endure," he explains to Deb, attempting to quell her apprehensions over her confession. "Maybe that's what love is: endurance. Of course you think you're in love with me. ... It's logical. ... You're not crazy." Yeah, coming from a serial killer, though? Those words hold slightly less weight.
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Now that the tables have turned and Isaak Sirko is working with Dexter rather than against him, we finally get to see a few dead bodies. It feels like we haven't seen one of those in awhile (even though that's not true)! But it seems like what Isaak really wants is to understand, is the realDexter Morgan—which, is no small feat considering the man barely has a grasp on that himself.
While Hannah is doing her best impression of Black Snake Moan, Dexter is getting the nth degree from Isaak: "Why are you a killer?" Dexter cooly responds to Isaak's inquiries regarding why he kills (it's not a badge of honor with him) with a very logical statement: "my needs are different." Want more than that? Don't worry, Isaak, because if anything happens to Hannah McKay, you'll be the first to find out. Otherwise, you can just forget it. The man is an emotional iron curtain.
So now that Dexter is working with Isaak Sirko, the two hitmen out to get him are obviously toast. Never cross a serial killer's path, my dudes: this is your already-probably-pretty-obvious fair warning. Taking out the first hitman (Mickic) at the shooting range, and luring Caffrey to a Koshka boat for his death sentence, the kills in this episode were decidedly very un-Dexter—as these things have recently become over the past few episodes. Gone are the days of plastic wrap and body dismemberment. Dexter's killing this go-around is all about leaving evidence—evidence that will keep him (or rather, the Bay Harbor Butcher?) from being attached to the crime scenes. It's a pretty scary game you're playing, Dexter.
...Which is a great way to segue to LaGuerta's investigation into the Bay Harbor Butcher, and her theories that he's still alive. She meets up with former police Captain Tom Matthews to prove what she already (at least subconciously) knows: her list of suspects should be a heck of a lot shorter. At first, Matthews is all "ha ha, that's cute. I'm not helping you with anything!" but seeing an opportunity to bolster his campaign to get his 40-years-in-the-making pension back, he later agrees to help LaGuerta out. "That little list of yours? You'd be surprised about what i know about some of the names on it," Matthews explains. Oh snap, does he know that Dexter is a killer? Or is everyone at Miami Metro just a generally horrible person hiding all sorts of sordid secrets? Is that the big secret twist of this show? We'll have to wait and see! But seriously, LaGuerta knows that Dexter is the Bay Harbor Butcher. It's just a matter of time before this all explodes. It just sucks that we have to wait so long!
But one thing we we don't have to wait for? An emotional explosion: Quinn took care of that bit for us, the little hothead. You'd think the dirty cops would be able to keep it together a bit more! Trying to escape the clutches of the Koshka Brotherhood is hard, though, y'all! Especially when they can f**k your girlfriend. That's right, Quinn—don't forget that your girlfriend is still owned by these people. George reminded Quinn of this by sleeping with Nadia as a means to get back at Quinn for ignoring him. And, Quinn, being the level-headed dude that he is, promptly throws George through a glass wall and beats him up. Oh good! This will end well.
Ultimately, the episode wraps itself up quite neatly—tooneatly, if you ask me, but who is?—because Hannah ends up escaping Jurg's clutches: thanks to Deb's snooping at the behest of Dexter. Quinn lives to outrun the Koshkas another day. Deb has kept Dexter's love and his secret alive and well. And LaGuerta has signed herself up for help from Matthews.
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The biggest shocker of them all though? The death of Isaak Sirko. Yep, that's right! After all that—all the hitmen, all the treachery, all the work: for naught. George, shortly after Caffrey is killed, shows up on the boat and kills Isaak himself. (Never send an amateur to do a real man's job!) And instead of asking Dexter for medical help, he asks for the one thing that Dexter can give him that no one else can: a chance to rest in peace alongside his lover, Viktor. Dexter obliges in what was probably the nicest thing he's ever done. Wow, maybe these human emotions arehaving an effect on Dex.
The relationship between Isaak and Dexter has arguably been one of the most enriching and expounding ones we've seen in the series. Finally, we see Dexter being pushed in a more human direction—Isaak was always insistent on asking the questions that other people wouldn't. "Death has always calmed me. ... It's predictable," Dexter explains when asked why he kills. "I feel like I don't have any control, and I don't know if I want to move on," Isaak explains when Dexter questions him right back. "Was it worth it? those feelings for him that cost you everything?" Dex inquires. Of course, Isaak explains: "I never had to hide. I was finally..." "...alive." Isaak, in a glimmering moment of possibility for our serial killer, says what others have long only dreamed of: "There's hope for you yet." If anyone's taught him anything, it's not Hannah McKay or Deb, it's Isaak Sirko. The two really were peas in a pod. It'll be interesting to see what Dexter does with his lifetime's worth of realizations now that Isaak is gone.
"Maybe you can be fine with being the cause of someone else's death but I can't," Deb declares. "That's not who I am." She is, of course, talking to Hannah McKay in a moment that was probably supposed to show a shift in Deb (her whole "I'm going to do things for myself rather than Dexter" schpeal was just not at all believable). The biggest emotional revelation? Dexter's acceptance of the chaos over logic when it comes to human emotions. While visiting a recovering Hannah, he snuggles in close (yes, Dexter actually SNUGGLED another human being) and says "...maybe that's how it's supposed to be. Out of my control" he says. "All I know is that when I'm with you I feel...safe." Only a serial killer could find solace and safety in another serial killer!
What did you think of this week's episode? Let us know in the comments!
[Photo Credit: Showtime]
Follow Alicia on Twitter @alicialutes
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Despite the rumors that are saturating the interwebs, Rihanna and Chris Brown are still denying the claims that they are back together. In fact, Brown recently told the Power 106 radio host Big Boy that the Top 40 duo are “working on [their] friendship."
Suuuuure. We don’t know what y’all do with your “friends” but we typically don’t hang out with our platonic pals while shirtless in bed.
Rihanna’s tweets have recently alluded that she and her “lover” were spending Thanksgiving together in Berlin, but her recent Instagram photo now has her fans all aflutter.
The “Good Girl Gone Bad” singer tweeted the following picture late Saturday, Nov. 24 with the caption, “Dis nigga....... #BartObsessed”. Although Brown’s face is buried into a Simpsons comforter, we can clearly see a plethora of tattoos (and some insanely saggy pants) that match the R&amp;B singer's ink and 90’s sense of style.
Do you really think that Rihanna and Chris Brown are just friends? Sing us your thoughts in the comments below!
Follow Leanne on Twitter @LeanneAguilera
[Photo Credit: Wenn]
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While we're all feeling a little chunky after the big Thanksgiving pig-out, Jennifer Lawrence showed why she's known for having one of the sexiest bodies in Hollywood. The Hunger Games and Silver Linings Playbook star bared her mashed-potato-and-stuffing-free figure while on vacation in Hawaii, here on November 22.
Lawrence has become the de facto poster girl for body image in Hollywood, taking the baton from another talented actress who was blessed (or cursed) with the mantle, Kate Winslet. In recent weeks, the 22-year-old caught some heat by calling herself "obese" in an interview but later clarified that she was being sarcastic. We'll say!
Now, to kickstart that post-Thanksgiving diet, take a look at 14 more of Katniss' sexiest looks ever:
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What do you get when you mix the finale of a supernatural saga, the world’s most deadly assassin, a dash of American history, badass Santa, and an unlikely friendship? The lineup for a record-breaking holiday weekend!
The Thanksgiving holiday is known for being one of the most popular movie-going weekends of the year, but this year the five-day break exceeded the already high expectations with a whopping $290 million! The previous Thanksgiving record-breaking weekend was back in 2009 with The Twilight Saga: New Moon, The Blind Side, 2012, Old Dogs and X-mas Carol drumming up a total of $273 million.
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As predicted, the tweens (and the too embarrassed to admit it parents) once again flooded the theaters and The Twilight Saga: Breaking Dawn, Part 2 : topped the five-day box office weekend with $64.02 million in ticket sales. Skyfall’s numbers were shaken (not stirred) up to $51 million this million with a wildly impressive $221.7 million total to date.
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Daniel Day-Lewis’s captivating performance led Lincoln to a solid $34.09 million from Wednesday to Saturday. And the two theater newbies, Rise of the Guardians and Life of Pi rounded up the bottom two with rather respectable numbers considering the Twilight and James Bond power-houses they were up against.
So what were the films that caused this record-breaking weekend? Check out the weekend’s top five below!
1.The Twilight Saga: Breaking Dawn, Part 2 : $43.07 million (3-day); $64.02 million (5-day); $226.9 million total
2.Skyfall:$36 million (3-day); $51 million (5-day); $221.7 million total
3.Lincoln: $25.02 million (3-day); $34.09 million (5-day); $62.2 million total
4.Rise of the Guardians: $24.02 million (3-day); $32.6 million (5-day); $32.6 million total
5. Life of Pi: $22 million (3-day); $30.1 million (5-day); $30.1 million total
Which movie did you see at the box office this weekend? Tell us your favorite in the comments below!
[Photo Credit: Summit Entertainment]
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Lifetime is currently the world's biggest troll. While its headquarters may or may not be under a bridge, it is behaving like an Internet troll, doing something negative in hopes for attention. Yes, I'm talking about Liz &amp; Dick, its new original movie in which human Scared Straight documentary Lindsay Lohan tries to play screen legend Elizabeth Taylor. It airs tonight at 9 PM and will get all the attention Lifetime is hoping for. Outrage followed her casting and Lindsay does nothing to counter claims that she is not up to the job. But here we are – all talking about it and probably all watching. You can't say trolls are not successful.
The problem with Liz &amp; Dick is not that it's bad (and it is as bad as getting bedbugs while you're sick with the flu), but that it is not bad enough to be entertaining. There is no camp here. It is just blandly awful in a way that most Lifetime movies are. Actually, the TV movie, which chronicles Taylor's long courtship and on-again-off-again relationship with actor Richard Burton, is exactly what we should expect. It's a typical Lifetime TV movie. It hews close to the network formula: The two have a meet-cute on the set of Cleopatra, complete with faux-funny hijinks, and the plinky music is an aural cue for anyone who has ever enjoyed a bad movie marathon that they are watching a made-for-cable rom-com. And the film ends quite the same way, with tragedy and obstacle heaped upon misunderstanding and breakup until we discover, in the end, that they were the loves of each other's lives in the first place.
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And that is why Lifetime is a troll. We can't fault it for providing the Platonic ideal of a "Lifetime movie" — that is what they are known for, after all. But somehow, we feel like we were promised more. This is Lindsay Lohan as Elizabeth Taylor. The fact that she was cast in this project seemed to signal that the network would try harder, to give us something better than Amish Grace or Abducted: The Carlina White Story. But it doesn't. Its big push to make this popular has nothing to do with quality, but rather the gimmick of hiring LiLo to play La Liz. It is a pure and brilliant troll.
As for Lindsay, she is atrocious. She doesn't try to channel Taylor as if she was a serious actress going for the low-hanging fruit of a biopic Oscar. She just emotes either too much or not enough, shouting "I'm bored!" at a certain point with a flatness that only displays the ennui of the viewer. She cries, but you never see her wracked with sobs. And, worst of all, she never once shows the wit and charm that made Taylor a superstar worthy of a made-for-cable movie in the first place. No, perhaps even worse, there is no physical transformation at all. The whole time she looks like Lindsay in a wig. Taylor, whose weight fluctuated as much as Lindsay's probation status, never gets bigger or smaller in the movie, even when trouble with her weight becomes a plot point. There is no passage of time or changing of emotion. The whole thing is static. Grant Bowler is fine as Burton, but no one is really paying any attention to him anyway. It's probably the exact same problem Burton had in real life, so at least that is some verisimilitude we can take to the bank.
The movie itself is rather poorly constructed. We start with the last day of Burton's life, a poor framing device that we return to again at the end. We also see Liz and Dick, wearing all black in a black room, sitting in black director's chairs, commenting on the action because neither actors are good enough to convey what their characters are thinking or feeling in each scene. So they have to tell us about it. The rest of the narrative is written like a bad children's book report: This happened, then this happened, then this happened, then this happened. Like an illustrated Wikipedia entry, there is no narrative arc or cause and effect relationship between the scenes. In the end, we never quite understand why they fell in love in the first place, why they fought so intensely, or why they ever stayed together.
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Many will probably tune in tonight hoping to laugh at Lindsay. We haven't seen her in anything but mug shots and paparazzi pictures in a long time, but she seems much worse than the last time we saw her. Any talent she had was snuffed out by something. It could be the drugs, it could be her legal struggles, it could be that Mean Girlswas just a fluke on the way to obscurity. Who knows. But like this movie, her brutal acting isn't something that's funny or outrageous in an entertaining way. It's just sad. And that makes Lifetime's troll of casting her in the first place not only disingenuous, but also sort of cruel. Follow Brian Moylan on Twitter @BrianJMoylan [Photo Credit: Lifetime] More: New 'Liz &amp; Dick' Trailer Offers Little New Footage, Is Still Hilarious Lindsay Lohan in the 'Liz &amp; Dick' Trailer: 'They Drink, They Fight, They Fornicate' Lindsay Lohan Talks About Liz Taylor's Drinking in New 'Liz &amp; Dick' Clip
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Played a young widow opposite Bradley Cooper in David O. Russell's "Silver Linings Playbook"

Portrayed Mystique in the prequel to the "X-Men" film series "X-Men: First Class"

Reprised her role as Katniss in "The Hunger Games: Catching Fire"

Cast as Bill Engvall’s unruly teen daughter on TBS family comedy "The Bill Engvall Show"; won Outstanding Young Performers in a TV Series at the Young Artist Awards (2009, shared with co-stars Skyler Gisondo and Graham Patrick Martin)

Earned critical raves with a supporting role opposite Charlize Theron and Kim Basinger in "The Burning Plain"

Starred in horror thriller "House at the End of the Street"

Delivered breakthrough performance as a tough country girl who goes in search of her missing drug-dealing, deadbeat father in "Winter’s Bone"

Summary

Despite not having any professional training, Jennifer Lawrence became one of Hollywood's most sought after and respected young actresses within five years of beginning her career. After a fairly typical start on television as a cast member of the family sitcom "The Bill Engvall Show" (TBS, 2007-09), she began to show surprising depth with performances in harrowing dramas like "The Poker House" (2008) and "The Burning Plain" (2008). It was Lawrence's magnetic and astonishingly mature starring turn in the critically acclaimed drama "Winter's Bone" (2010) that made critics take notice and elevated her status from rising teen starlet to Oscar-worthy actress. In addition to her continued work in smaller, more intimate films, several big-budget features followed for Lawrence, including a supporting role in the superhero adventure "X-Men: First Class" (2011) and the lead in the hugely successful "The Hunger Games" (2012) and its sequels, based on the best-selling young adult novels by Suzanne Collins. Also in 2012, the critical darling "Silver Linings Playbook" once again made the talented actress a contender for Hollywood's top awards, leading to an Academy Award for Best Actress. Capable of emotionally rich performances and blessed with an undeniable screen presence, Lawrence was well-equipped for a lengthy and diverse career as one of film's premier talents.

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Notes

"What's weird about wrapping a movie is you spend so much time creating a whole other person, then all the sudden you leave. You stop. And that part of your brain, or head, or imagination, doesn't exist anymore." – Lawrence to USA Today, June 9, 2010

"It's easy to get pigeonholed, so I think it's important that when one thing gets really big – it's a wise decision to do the opposite." – Lawrence to Teen Vogue, April 2011

"When we first met in person it was so clear that this girl was going to take over the world. She is charismatic, funny to the bone, and will not suffer fools easily." – Charlize Theron on Lawrence, quoted in Entertainment Weekly, Dec. 7, 2012